Everything clicked Wednesday evening at ACT (American Conservatory Theater) which opened its 2015-6 season with Stephen Adly Guirgis’ Between Riverside and Crazy, the 2015 Pulitzer Prize winner for drama. Drawn from real life, the story, which had the audience laughing all night with its biting dialogue and superb acting, captures a dark period in the life of ex-NYC cop and recent widower Walter “Pops” Washington, marvel Carl Lumbly. “Pops” has a full set of problems which are only compounded by the company of ne’er-do-wells surrounding him. He is trying to stave off eviction from his gigantic rent stabilized apartment on Riverside Drive while he waits for a hefty settlement from a racial discrimination suit he filed against NYPD 8 years back. He’s also keeping tabs on Junior, his newly-paroled son (Samuel Ray Gates) who seems to be using the apartment for fencing stolen goods and who has moved his girlfriend, Lulu (Elia Monte-Brown), in, who might be a hooker. Oswaldo (Lakin Valdez), an addict in recovery, is another questionable houseguest. It’s no wonder that Pops is drinking.

While the entire cast is superb, Carl Lumbly, “Pops,” who hails from Berkley, is the glue that holds this superbly measured tragic-comedy together. He has that wonderful sense of ease on stage that allows him to completely embody a character and to relate genuinely to everyone.

Lumbly, garnered national attention as NYPD Detective Marcus Petrie on the CBS police drama Cagney & Lacey and as CIA Agent Marcus Dixon on the ABC espionage drama series Alias, is well known for his remarkable theatrical performances. In 2013, at San Francisco Playhouse he played the lead character in Stephen Adly Guirgis’ tragicomedy, The Motherf**ker with the Hat, along with Gabriel Marin, who plays a police detective in this play.

As with so many plays drawn from controversial real-life events, perspective is everything and the brilliance of this Guirgis play is that it shrewdly limits itself to a few perspectives, ensuring that we learn everything about Pops and his past from either Pops or the two white NYPD detectives (his former partner (Stacey Ross) and her fiancé (Gabriel Marin) who come calling to try and dissuade him from pursuing his lawsuit against the NYPD.

The crux of the play is that Pops, confined to a wheelchair, has been seething in anger for years over being shot and has been finding consolation in a bottle. He believes his shooting was a racially motivated crime rather than an accident and he wants “justice” and has held out for 8 years hoping for recognition that his civil rights were violated. It’s very easy to fall for Pops and into his mindset. As time passes, however, we learn that, in order to receive a more lucrative settlement, he embellished his story saying that the white cop that shot him called him “nigger” and we learn that, on the evening he was shot, he was off duty at a seedy bar and didn’t identify himself as police officer and his blood alcohol level was very high. That seems to change everything, or does it? Guirgis, who based the play on an actual shooting that happened in 1994, is exploring the limits of truth and the race factor.

How do we decide who to believe in a shooting that is tainted with claims of racial motivation? Pops may have been lying when he said the cop who shot him called a name, but it is also possible that the cop was motivated by an implicit bias, which is almost impossible to prove.

The domestic chaos in the household seems a perfect accompaniment for Pops’ inner turmoil and one of the pleasures of Between Riverside and Crazy is Guirgis’ vivid contemplation of character. Guirgis has long had a fascination with strugglers, strivers, misfits and perennial outsiders and they all come together in this crumbling apartment─each a slave to some form of self-destruction and each with a cover story that cracks as time passes. The push-pull drama is funny, sad and believable.

We first meet well-meaning Oswaldo (Lakin Valdez), a junkie who is committed to rehabilitation but slips up. His affection for Pops in Act 1 is palpable. His colorful riff on eating healthy which involves a diet of fresh organic raw almonds instead of Ring Dings with baloney and Fanta Grape unfolds like poetry. When Pop’s son’s fiancé, Lulu (Elia Monte-Brown), waltzes into the kitchen in short shorts and tries to wrap Pops around her finger, sweetness delivered in a Hispanic Brooklyn accent, we just know she’s trouble and not really studying accounting. And Pop’s parolee son, Junior (Chris Butler), with whom he seems to have a strained relationship, purports to be walking the straight and narrow but his partying and strange comings and goings lead us to suspect he’s up to no good. And then there’s the dynamic seductress “Church Lady” (Catherine Castellanos) who delivers a “Spiritual treatment” that sends Pops straight into cardiac arrest.

All the action takes place in the confines of the kitchen and living room, essentially one large set, masterfully designed by Chris Barreca. The space evokes the fading grandeur of those magical old large Riverside apartments from the era when middle class workers in New York really had some space. Pops’ wife has passed recently so the place looks neglected with its ratty appliances, distressed cabinets and old linoleum but it’s got very good bones.

Director Irene Lewis’ pacing of this two hour play is near perfect with the first part devoted to Pops’ extended dysfunctional family and the second, a life-altering visit from Church Lady, revelations about his lawsuit, and an unexpected ending.

Carl Lumbly on playing “Pops”─ Pops has had to walk a hard line, and as a black man of his time, growing up and making the choice to become a police officer—perhaps in a neighborhood in which most people went a completely different way—was a complex decision. As his career went on, I believe he saw some things that made him proud of having made that choice. But over time, being tossed up against the serrated edge of reality that operates in situations where people are acting out of desperation, he saw some pretty awful forms of human behavior, in perpetrators and criminals as well as in the system of justice that gets applied to hold them in check. …Because he doesn’t have legitimate power any longer, illegitimate power achieved by lies in the face of unfairness doesn’t feel like the worst strategy.

Details: Between Riverside and Crazyruns through September 27, 2015 at American Conservatory Theater, 405 Geary Street, San Francisco. Performances are 8 p.m. most Tuesdays-Fridays; 2 and 8 p.m. most Wednesdays and Saturdays; and 2 p.m. most Sundays. Tickets: $25 to $125, phone 415.749.2228, or visit www.act-sf.org.

In David Mamet’s “Race,” which has its West Coast premiere at San Francisco’s A.C.T., law firm partners Jack Lawson (A.C.T. core acting company member Anthony Fusco, left) and Henry Brown (Chris Butler) discuss whether they should take on a controversial case involving a white man raping a young black woman. Photo by Kevin Berne.

What do you get when you mix three attorneys with a white man accused of raping a black woman? It all depends. David Mamet’s dramedy “Race,” which has its West Coast premiere at San Francisco’s A.C.T.(American Conservatory Theatre), uses a not-so-straightforward scenario of rape to explore the complex world of sexual and racial politics and our discomfort at talking about our deeply held beliefs. When Jack Lawson (Anthony Fusco), Henry Brown (Chris Butler) and Susan (Susan Heyward) are roped into defending Charles Strickland (Kevin O’Rourke) a wealthy white man who appears to have raped a young black woman in a hotel room, we quickly see how this law firm operates. Their mandate is to get their client off the hook by whatever legal means available, despite the truth. Newly-hired associate Susan is most challenged. As a young black woman, she empathizes with the victim and grows increasingly uncomfortable as a zany defense strategy involving a red sequined dress unfolds, but being new and lowest on the totem pole, she has little power to stand-up directly to her two senior partners. While the two men spar directly each other about their respective assumptions about racial relations and sex and power dynamics and what may have really unfolded in the case, Susan finds non-verbal ways to assert herself, proving she is not as naïve as she presents. White versus black; male versus female; privilege versus underprivileged–each character at first seems to conform to certain perceptions but then doesn’t. Personal convictions and prejudices are road-tested all around by Mamet who also explores the predatory nature of the news media.

Law firm associate Susan (Susan Heyward) quietly pays close attention to the racially charged case. As the play develops, she proves to be not as naïve as she is presumed to be. Photo by Kevin Berne.

Given Mamet’s track-record for presenting first-rate controversy, “Race” has no real shock impact─it has been upstaged by some of the racially-repugnant language currently on television but it is an entertaining puzzler hat offers a wide platform for exploration of our own deep prejudices. The 2009 play also has an uncanny applicability to the issues in the highly-publicized case against former International Monetary Fund Director Dominique Strauss-Kahn for allegedly sexually assaulting a New York hotel maid in May of this year. The shift in that case came when the Manhattan County District Attorney’s office disclosed in a letter to the defense team that the accuser admitted to lying on her 2004 asylum application and subsequent lies were then revealed. Separating out and isolating issues relevant to the case at hand became part of a legal and media extravaganza and personal biases and projections were intentionally whipped up. In rape cases, it seemed that one needed to be the near perfect victim, whereas, the friends, family, and supporters of the accused, a man of great wealth and power, argued that he was a certainly seducer but not a rapist. Justice was a game that was to be played out and the truth was something else.

At the end of the first act of “Race,” lawyers Lawson and Susan are debating the Strickland case when Susan tells Lawson, “This isn’t about sex. It’s about race.”

“What’s the difference,” Lawson asks. “It’s a complicated world, full of misunderstandings. That’s why we have lawyers.” “Race” explores what’s at the heart of our biases and the world of sin that attorney-client privilege can hide. At 90 minutes, without intermission, with a four member cast, and all set in a law firm’s conference room, it is one the best productions in A.C.T.’s recent history. Alert: intentionally coarse language.

“Experts Talks Back” special post-show discussions: Delve deeply into the issues raised by “Race” with legal and cultural specialists leading discussions about many of the provocative topics that percolate throughout the production:

• Friday, October 28, 2011, following the 8 p.m. performance: Regina Arnold, a former rock critic who teaches at Stanford University, leads a discussion about race and ethnicity in today’s popular culture, moderated by Edward Budworth, A.C.T.’s groupsales and student matinee representative.

• Thursday, November 3, 2011, following the 8 p.m. performance: Mary McNamara, a white collar criminal defense lawyer who was named one of the top 50 women lawyers in Northern California, leads a discussion moderated by Patrick S. Thompson, a partner at Goodwin Procter and a member of A.C.T.’s Board of Trustees.

• Thursday, November 10, 2011, following the 8 p.m. performance: Wilda L. White, executive director of the Thelton E. Henderson Center for Social Justice at UC Berkeley School of Law, and Jennifer Madden, deputy district attorney in Alameda County, lead a discussion moderated by Patrick S. Thompson, a partner at Goodwin Procter and a member of A.C.T.’s Board of Trustees.

Admission to all Experts Talk Back events is free with a ticket to Race; the discussions will take place in Fred’s Columbia Room on the lower level of the American Conservatory Theater (415 Geary Street, San Francisco).

Details: The West Coast premiere of “Race” runs through November 13, 2011; tickets (starting at $10) are available by calling the A.C.T. Box Office at 415.749.2228 or at http://www.act-sf.org.